


‘ 
P a 


he 





ta r 
=< 
? 





Choreographic Compositions 


MICHEL FOKINE 


a Fischer Edition 
Ee No. 5526 





Price $5.00 


e Dying Swan 


Music by C. Samt-SAENs 


Detailed Description of the Dance by MICHEL FOKINE 
Thirty-Six Photographs from Poses by Vera Foxina 


J. FISCHER & BROTHER, NEW YORK 


1IQ WEST 40TH STREET 





PRINTED IN U.S.A. 

















Michel Fokine and the Russian Ballet 


Iie FoKINE was for ten years the Professor of the Imperial Ballet School in Petrograd, 
the same institution in which he had studied for nine years previously. Asa dancer, 
he spent twenty years on the same stage, during this service he was also appointed Ballet 
Master of the Imperial Theatre. At the outbreak of the Revolution in 1917 he was unan- 
imously elected Director of the Ballet by its members. 


Before the time of Fokine, the ballet of Russia was essentially a foreign art, brought to 
Petrograd from Italy and France and was an artificial and stereotyped performance, 
following the old traditions of the French and Italian instructors and bearing no relation 
to Russian soil or the spirit of its people. 


Creating In 1905, Michel Fokine made his historic report to the Board of Directors 
the Russian Of the Imperial Theatre, covering the necessity of reforming the ballet and 
Baller abolishing the old and artificial forms. Receiving no support from the 


conservative directors he was forced to carry out his reforms by presenting 
his new creations to the public for their judgment. This was accomplished, during the next 
few years, chiefly in the numerous charity performances which he organized in Petrograd. 
All this was done without the aid of the Imperial Government and succeeded through its 
own artistic beauty and Fokine’s determination and ambition. Out of this revolt against 
old forms was born this new Russian Ballet, and Michel Fokine was its father and creator. 


The new ballets, composed and created exclusively by Fokine, were shown in Paris as 
the Ballet Russe. After its great triumph in the capital of France, it was acknowledged 
and accepted by the Imperial Theatre of Petrograd. Mr. Fokine was immediately offered 
the position of Ballet Master of that institution. 


Although Mr. Fokine worked continuously in the Imperial Theatre and in many foreign 
theatres, he continued to organize charity performances, where he always presented 
new ballets of his own creation. All of the productions of Michel Fokine are his own 
artistic creations. He never adapted the work of others. On the contrary, his own cre- 
ations offered a chance for many imitators, whose presentations, without his sanction 
or authority, can only be classified as forgeries. Thus his famous creation, ““The Dying 
Swan’’, is danced by almost every dancer throughout the world, being imitated and altered 
in various forms. The imitations of Fokine’s other well known creations, ““Dances from 
Prince Igor”’, “Les Sylphides”’, “Carnival”, and ““Bacchanale”’, have overflown the stages 
of Europe and America. Even the Metropolitan Opera House in New York produced 
‘Cog D’Or”’, and “‘Petrouchska’’, “after Fokine”’. 


In 1915, Michel Fokine started upon a series of concerts with his partner, wife and pupil, 
Madame Vera Fokina. Together they gave a series of performances all over Russia, and 
later in the largest cities of Scandinavia. In 1919 they came to America and gave a number 
of performances in the Metropolitan Opera House, New York, and also in the best theatres 
of such cities as Boston, Philadelphia and Chicago. In 1921 they returned to Paris for a 
series of concerts at the Grand Opera, and then returned again to America. 


Mr. Fokine is unquestionably the creator and real representative of the art symbolized 
by the Russian Ballet. In his Studios at 4 Riverside Drive, New York City, he devotes 
most of his time to instructing young American pupils in the Fokine art—the same art 
with which he inspired the painters, composers, the dancers and audiences of Petrograd, 
Berlin, Paris and London and in which he has instructed so many dancers since famous 
throughout the world—such interpreters of his Russian Ballet as Madame Pavlowa, 
Madame Fokina, Karsavina, Bolm, Loupokowa, Nijinsky, Novikoff, Romanoff and practi- 
cally every other notable Russian dancer of to-day. This art Mr. Fokine presents to the 
world through this, the first of a series of Choreographic Compositions, designed so that 
anyone versed in the rudimentary technic of the dance may develop an authentic and 
artistic presentation of his creations. 
ALBERT J. Forp, Editor 

















ee aes es iL en 





MICHEL FOKINE 


Choreographic Compositions Originated By Michel Fokine 


In the Imperial Theatre, Petrograd, 1907-1917 
‘Pavilion d’Armide”’, ““Chopeniana”’, ““Aevnika”’, 
“Egyptian Nights” (“Cleopatra’’), ““Wenusberg”’, 
Dances from “Prince Igor’’, “Orpheus and Eury- 
dice”, “Les Preludes”, “Islamay”’, “Papillons”, 
“Hota Aragonesa”, ““Eros’’, etc. 


For Charity Performances, 1905-1917 
“Da Vigne’, “The Dying Swan”’, “1st Chopen- 
jana”, “2nd Chopeniana” (“Les Sylphides’’), 
‘‘Cleopatra’, “Carnival”, “Aevnika”’, “Sadko’’, 
“Islamay’’, Francesca da Rimini’, ““Eros’’, ‘Hota 
Aragonesa’, Stenka Rasin”,”“L’ApprentiSorcier”’. 


For the Examination Performances of the Im- 
perial Theatrical School, 1905-1910 
“Acis and Galatea”, “Chopeniana”, “Goblin 


Anime’, “A Midsummer Night’s Dream”, 
‘Four Seasons. 


For the Ballet Russe (Diagileff Management) 

Paris, London, Monte Carlo, Rome, Brussels, 

Berlin, etc., 1909, 1910, 1911, 1912, and 1914 
“Scheherazade”, “Cleopatra”, “Spectre de la 
Rose’, “Les Sylphides”’, “Carnival”, ““Petrouch- 
ka’’, “Dances from Prince Igor’’, “Le Cog d’Or”’, 
‘Narcise’’, “Le Dien Bleu’’, “Thamar’’, “Daphnis 
et Chloe”’, ““Legende de Joseph’’, ““Midas’’, ““Pa- 
pillon”’, etc. 


With Italian Company in Teatro La Scala, 
Milano, 1911 


‘“Scheherazade’’, “Cleopatra”. 


With the French Artists, Grand Opera, Paris, 
1921 
“Daphnis et Chloe”’. 


With Swedish Ballet Opera Royal, Stockholm, 
1911, 1914 


“Scheherazade”, “Cleopatra”, “Les Sylphides”’, 
“Carnival”. 


With Polish Artists, Government Theatre, 
Warsaw, 1908 


‘“Chopeniana’’, “ Aevnika’’. 


With Pavlowa’s Ballet, 1913 
“Les Preludes”, “Seven Daughters of the Moun- 
tain Spirit”. 

With Americans, New York, 1919-1923 
“Dances of ‘Aphrodite’ and ‘Mecca’ ”’ (Man- 
agement of Morris Gest), “Thunder Bird”’ (Hip- 
podrome Theatre), “Frolicking Gods”, ““Forlondio”’ 
(Ziegfeld Follies), ““Adventures of Harlequin”, 
“Russian Toys” (Strand Theatre), “The Return 
from the Carnival’ Prologue for “Casanova”, 
(Empire Theatre). 


With English Artists, London, 1923 
Dances for “Hassan”, His Majesty's Theatre. 
Dances for ‘““Midsummer Night’s Dream”, Drury 
Lane Theatre. 
For the Danse Recital Michel Fokine and Vera 
Fokina, New York, Paris, 1921 
“Le Reve de la Marquise” and others. 








[3] 


UNIVERSi Ty Or 
ILLINOIS UBRARy 








“The Dying Swan” 


A I begin the publication of one of my first creations, the dance called “The Dying Swan”, I 
am fully aware how difficult it is to express in words the beauty of movement of the 
human body. 


Nevertheless, I wish to record this dance and by all possible means make clear its composition, 
its technique and plan. 


It was long ago, when I was a young artist in Petrograd, that this dream was first realized and 
this vision first produced. And during almost twenty years I have witnessed in all parts of the 
world a thousand interpretations and imitations by artists and amateurs, trying to express this 
vision, or visualize this dream. 


I wish to be of assistance to those who, like myself, are striving for the beauty of the spiritual 
ized dance, who understand the significance of plastic expression and who are not content with 
ordinary physical exercise, but who seek poetry in the movements of the dance. 


“The Dying Swan” is the transition from the old ballet to the new. Here I make use of the 
technique of the old, so-called classical dance, and the traditional costume of the ballet. But it 
contains all the elements from which the new Russian Ballet has been created. 


It is a Spiritualized Dance 


A highly developed technique is necessary for the performance of this dance, but the object 
of the dance is not the display of this technique, nor the demonstration of the difficulties encoun- 
tered. Perfect technique is only the means of expressing the higher artistic purpose—the creation 
of the poetic image—the creation of a symbol—the symbol of the everlasting struggle in this life 
of all that is mortal. 


This is a dance of the whole body—not a dance of the limbs only—such as in the old ballet 
dances. For instance, here the movement of the arms is equally, if indeed not more, important 
than the movement of the legs. It isnot an appeal merely to the eye of the onlooker, but to his 
soul, emotions and imagination. 


It was thus that the dance of “The Dying Swan” was first conceived. Its world-wide fame, 
I believe, has proved that my original ideas for the reform of the Russian Ballet, and carried out 
in this its first production, were right and deserve wide recognition. 


“The Dying Swan” was composed and staged in Petrograd in 1905. It was performed for the 
first time by Mme. Anna Pavlowa, at the concert of the artists of the chorus of the Imperial 
Russian Opera, given in the Hall of the “Assembly of Noblemen’’. The performance was a great 
success and from that evening “The Dying Swan” became the favorite number in the repertoire 
of Mme. Pavlowa. 


A few years later my pupil, Mme. Vera Fokina, began her artistic career and was engaged 
as ballerina of the Royal Opera in Stockholm also touring Europe with the Russian Ballet, under 
the management of S. Diagileff. I instructed Mme. Fokina in the original composition of “The 
Dying Swan”, which she performed in the principal cities of Europe, and later in America, with 
constant success. Mme. Vera Fokina has always adhered to the original composition of my dance. 





Copyright, 1925, by J. Fischer and Bro. International Copyright Secured 





If performance is to be given before a paying audience permission must be obtained from Micuet Foxrne, 4 Riverside Drive, New York 





{4 ] 











But the “Swan” has been imitated all over the world and people everywhere have tried to 
copy the dance as they have seen it performed. 


The following is a description of the “Swan” in its original form, as I taught it to Mme. Pav- 
lowa and Mme. Fokina. In order that the description may be more easily followed I have marked 
the various parts of the dance with numbers, which numbers are also indicated in the music of 
C. Saint-Saéns, supplemented to this edition, and indicate the movements corresponding to the 
music. The enclosed plan with the corresponding numbers enable the reader to follow the direc- 
tions of the movements. The photographs with the same numbers will give him an idea of the 
various poses of the dance. 


The photographs in this edition are all from poses by Mme. Vera Fokina. 


A General Picture of “The Dying Swan” 
Created by Micuet FoxkIne 


and as performed by Mme. Pavtowa and Mag. Foxrna 


As the curtain rises, the dancer stands still in the far end of the dark stage in a white costume, 
covered with swan feathers. She is seen in the moonlight. Her head is sadly bent, the hands are 
lowered and folded in front of her body, which is slightly bent forward. Following the first notes 
of the harp, with the first sound of the violoncello she rises on her toes and moves slowly and 
sadly across the stage. The arms rise slowly over the head, and then extend like wings. But while 
trying to rise she appears to become weak and falls on the knee. Flinging herself from side to side 
and gathering all her strength she rises on the toes of her left foot and plaintively throws her 
head backward trembling and struggling. Having repeated this part she moves slowly towards 
the centre of the stage, with body bent downward, so that her fingers almost reach the ground. 
Then she rises and circles on her toes, entwined in the tender movements of her arms, as though 
she.is pitying herself. 

But the tempo of the music becomes faster and louder, the dancer is whirling more rapidly, 
extending her arm in pathetic appeal. Her body becomes more erect and with extended arms she 
moves toward the far end of the stage. Throwing her arms higher and higher she becomes still 
for a moment, immovable on her toes, in an effort to rise, —to escape from the unavoidable. The 
music heard at the beginning of the dance is repeated. The head is bent to one side. She is a 
picture of disappointment. She moves slowly with her back to the audience. Now she peeps out 
sadly from under her right arm stretched out to one side, then from under her left arm, circling 
nervously as though animated with new hope, then throws up her arm towards heaven and re- 
turns to the middle of the stage, falls on her knee, making a final effort to fly, falls helplessly and dies. 


MAS Pails 





[5] 











sorocremaseen 





Photographs by Nicxotas Muray, New York 





BO ete es 





36 7 238 














A Detailed Description of the Dance 


1.— Motionless poise. 
2.— The right leg is put forward, slightly bent and then stretched out at the knee with extended 
instep (Dégagé). The left leg is bent at the same time. 


3.— Floating movements on the toes, small steps (pas de bourrée). The arms are raised slowly 
with slightly trembling hands 

4.— And folded over the head. 

5.— A forward fall leaning 

6.— Resting on the left knee 

7.- The body is bent to the right and forward, the centre of gravity is transferred to the right 
ee then to the left and again to the right one. This produces the effect of a slowly rocking 

ody. 

At the same time the shoulders are lifted and the head is slowly bent to the right, so 
that the right cheek touches the right shoulder. 
The arms rise slightly and fall. 


The hands are kept in a position opposite from the position of the arms, that is, when the 
arms are rising the hands are dropping, and when the arms fall, the hands rise. 


8.— The same but more rapidly and head and body bent to the left, 
9.— The same but head and body bent to the right, 
10.— The same but head and body bent to the left, 
11.- The same but head and body bent to the right, 
12.— Rising on the toes of the left foot, the right one lifted high backward (Attitude). 
The arms fly up like wings. The head is thrown backward. 


This posture is to be retained if possible to the end of the bar, and only at the last moment 
the foot comes down in the fifth position and the small pas de bourrée are resumed. 


13.— Floating movements on the toes, small steps (pas de bourrée). The arms are raised slowly 
with slightly trembling hands 


14.— And folded over the head. 

15. A forward fall leaning 

16.— Resting on the left knee 

17.— The body is bent to the right and forward, the centre of gravity is transferred to the right 


ee, then to the left and again to the right one. This produces the effect of a slowly rocking 
ody. 
At the same time the shoulders are lifted and the head is slowly bent to the right, so that 
the right cheek touches the right shoulder. 
The arms rise slightly and fall. 
The hands are kept in a position opposite from the position of the arms, that is, when the 
arms are rising the hands are dropping, and when the arms fall, the hands rise. 
18.— The same but more rapidly and head and body bent to the left, 
19. The same but head and body bent to the right, 
20.— The same but head and body bent to the left, 
21.— The same but head and body bent to the right, 
22.— Rising on the toes of the left foot, the right one lifted high backward (Attitude). 
The arms fly up like wings. The head is thrown backward. 


This posture is to be retained if possible to the end of the bar, and only at the last moment 
the foot comes down in the fifth position and the small pas de bourrée are resumed. 











The Swan 


NM 
Tad 
fx 
<— 
NM 
‘on 
Zz 
— 
< 
DM 
= 
S 
fa 
s 
= 
S 
a 
~® 
is) 
w 
le 
<0) 
= 
= [A] 
Po 
<7} 
@® 
om 
fe 
oma 
[ols 
Boe 
oO 
© 
te: Se, 
a 
Sa 
< 


6: 

















tle 


m 


legato st 


(ai XY 


ed 


Ca _ Fats] Bae ee 
| | 
ae 
a 
a 


pes 
SF 
n.d 
gm | 
Fence 











Piano 





























ly . 


someree OT 


(a 
| 
| 
a! 





oh 


Sea rey A 
By ise Sis 


Pag Pa 





Ss, 
& 
N 
LS 
~ 
g, 
S 
*S 
Ss 
Q 


Bean AS hi. i ot Aan 
Aihara 


ee | 
a ABS 























sw 


2 





i ai a 














Copyright, 1925, by J. Fischer & Bro. 











23.— ) 
24 = & 
25, | 


26.— The body is lifted. The right arm is placed on the head. 
The left one wound around the body. 
Circling toward the right. 
27.— The circling continues. The right arm is brought down, the hand sliding along the cheek 


and along the body, downward and around the body. At the same time the left hand 
glides along the right arm, upward. 


28.— And thus rests on the head. 
29.— Circling to the left which becomes more rapid. 
The right hand extended in appeal. The body is bent to the right and forward. 
30 
31.-/ The circling continues. The body becomes erect. Movements on the toes in the far 
32.-? end of the stage. The movement of the arms resembles the motion of wings. As de- 
33) scribed in No. 7, but more forceful. Pas de bourrée becomes more rapid. 
34.— 
35.— The circling continues. The arms rise more often. Rapid combinations of the last two poses. 
This movement expresses the most desperate effort to rise, the greatest tension. 


36.— The agitation of the arms weakens and only the hands tremble. Intense pas de bourrée on 
one spot. The arms rise higher and higher. 


37.—Suspension. As though all movement left the body and passed into space. 

38.— Movement with back to the audience with a waving agitation of arms. The movement is 
to be begun with a slight bend backward while remaining on the toes. 
Pas de bourrée up to No. 44. 
This moment expresses despair and failing energy after a concentrated effort. 

39.— The head turns to the audience and peeps out from under the right arm. 

40. The same in the opposite direction. 

41.— Circling as in No. 29, but to the right. 


A movement towards the centre of the stage with body dropping forward, more and 
more. Continuous pas de bourrée up to No. 37. 


42.— A sideways movement. The right arm is turned with palm outward and is lifted as if 


43.) in appeal. 

44.— Suspension (Attitude) on the right foot. 

45.- A movement to the centre of the stage. Both arms are lifted, the head is thrown back. 

46.— Suspension. 

47.— Slow falling on the left knee. 

48.— The right arm folded over the head, left hand on the shoulder. 

ash aa tS neta er The hands tremble to the end of the dance 

50.-The left arm falls. 

51.— The body, arms, head, are lifted for the last time. 

52.- Everything drops. The dancer sits down on the left leg extending the right one forward. 
The arms are first folded over the head and then slide across the body downward. 

53.— The posture is lifeless. All muscles are freed. Death of the Swan. 








{ 12 } 





ner 
rH st 














=e 
AEE 
I 
oe 
ra 

af ts 



























































Interpretation of the Dance 


A” realistic expression of physical suffering must be entirely excluded. The life gesture from 
which the dance is developed must be raised above the everyday realism to esthetic heights. 
Making the dance an imitation of the bird isa mistake which has been made by many performers. 
The more unrealistic and emotional the execution, the loftier and more beautiful will be the 
impression conveyed. 
The execution may be more lyric or more dramatic. I admit both interpretations and leave 
to the performers to follow the course which their individuality dictates. 


The Technique of the Dance 


Almost the whole dance is performed on the toes. Pas de bourrée (tapping with the toes of 
both feet on the floor)—the steps must be small and incessant. The limbs vibrate like stretched 
strings. While the legs do intensive work, the arms are free from all effort. 

The opposite direction of the movement of the hand from the movement of the whole arm 
is carried out throughout the whole dance. 

“Crescendo” and *“‘Diminuendo” of the music must be expressed in increasing and decreasing 
movements of arms and legs (pas de bourrée), in the force of circling and rapidity of toe movement. 


Scenery 


The best scenery for the “Swan” is a cyclorama representing the sky of one color. The exe- 
cution of this dance against the scenery of a lake, as it is often done, is less desirable. The effect 
is always too real for a phantasy such as this dance. 

Draperies with prosaic folds also destroy the illusion, therefore the best background is a scene 
depicting the horizon. : 

Light 


The whole stage is dimly illuminated with blue light. It is very dark. Before the curtain rises 
two searchlights are directed towards the dancer from the opposite sides of the stage, from the 
first wings, from a height of about 15 feet. The rays are to be of light greenish-blue and are to 
follow the performer during the whole dance, lighting her whole person, but without touching 
the scenery. 

The rays of light should never come from the audience. It is very important to avoid this 
mistake, otherwise the shadow of the ballerina will dance on the scenery and consequently, the 
dancer will not stand out against the background. Besides, this is a most inartistic method of 
theatrical lighting. 

In case the dancer appears on the stage after the performance, by request of the audience, the 
light is to remain the same as during the performance. 


Costume 
The traditional tunic of the ballet is trimmed with swan down, feathers and wings, as shown 
in this edition in the photographs of Mme. Vera Fokina. The costume is white with the exception 
of the tights and slippers, which are of a very light pink. 


The Music 


It is best that the music selected by me from C. Saint‘Saéns is played on a violoncello with 
the accompaniment of a harp. 
The Curtain 


The curtain rises before the music is heard and before the dance is begun, and falls very slowly 
with the last strains of the music, so that the audience sees the dancer at the conclusion of the 


dance lying still for about five seconds. 
Micuet FoKine 








{ 14 } 











“The Dying Swan” Stage Diagram of the Dance 








\ 
from © @, to12 
2S 
ob oS 






sig 
from1 6e to22 





Sao Sars SS SA 
3 @.; 


from 20 to 29° ‘s) 24 











? 


! 
; 
¥38 
t 
i 
from @39 to4+1 






trom@ 47 [53 


























ai 


=) 





a 


boil 








wig OF ILLINOIS-URBANA 


Q.7 c001 
THE F DYING "SWAN, MUSIC BY C. SAINT-SAEN 


INN 




















a 


